On large scale orchestral works, like
Rachmaninoff’s Symphonic Dances
[Reference Recording RR96] the 7008 was
successful in maintaining image dimensionality
in the swirl of massed strings and brass, but
the soundstage was not as deep or wide as I
have heard with my separates. Soundstaging was
better on smaller scale acoustic works, like
the wondrous ensemble work in “Brasileirimho,”
from Yo-Yo Ma’s Obrigado Brazil [Sony
89935]. Everything in this piece comes to
vivid and detailed life with the 7008 in
charge, from the whistles and varied
percussion, to Paquito D’Rivera’s clarinet
flowing over it all. The soundstage here was
wider but still not very deep, although the
sound was anything but flat and the players
were arranged in precise positioning on the
stage in front of my front row seat.

The agility, energy and rhythmic flow that the
7008 provided really showed its best features
on bass driven music, whether rock, blues or
jazz. The 7008’s bass performance was its best
feature. It seemed to put a vise grip on every
woofer that I threw in its signal’s path,
delivering bass that was deep, rhythmic and
taut. Examples of this was experienced around
every exhilarating curve, whether it was the
crushing “pilons” that pound with effortless
depth at the start of “Canto Del Pilon” from
Daboa, From The Gekko [Triple Earth
115] or Sting’s taut, massive undertow of bass
in “Spirits In The Material World,” from
Ghosts In The Machine [AM Records
069493598-2]. The 7008, like a classic
Porsche, loves to propel forward, with a
rhythmic flow founded on a deep and taut bass
foundation.

Racing
Against The Best

Through
the generosity of the Harman Specialty Group,
located here in Bedford, MA., I was fortunate
to bring to the track for competition with the
7008 the acclaimed Mark Levinson 383
integrated amp. The 383 ($6000) runs in the
same price range as the 7008 and is rated at
100W into 8 ohms and 200W into 4 ohms. It also
strives, like the 7008, to incorporate
technology to maintain short signal paths and
prevent noise from reaching its audio
circuits. The 383 is tremendously overbuilt,
with three separate power supplies providing
power to various circuits, and with a unique
dual-mono design where left and right audio
channel circuits are powered by independent
power supplies. In its preamp section, the 383
disconnects unused input signal and ground
connections as well as converts unbalanced
input signals to balanced signals all the way
up to the amplifier’s final current gain
stage. Like the 7008, the 383 has modes for
integrating with surround sound processors and
has amazing functionality through its remote
control, including the ability to customize
input names, gain levels and phase inversion,
to name just a few. (The 383 does lack a
headphone output section, enjoyed on the
7008). The 383’s build quality and ergonomics
(including its first class remote) is second
to none. Some may prefer the 7008’s thinner
chassis and European styling, in comparison to
383’s large size and weight, but there is no
question that the 383’s ergonomics trump the
7008 in both material and function. Like a
fine racing car in the top of its class, the
383 is a joy to behold and operate.

Taking
these two thoroughbreds out for marathons with
the same associated equipment and recordings
in place, proved that both have excellent
power capabilities preserving space and focus
and a sense of ease with all loudspeaker loads
I employed, even at high torque and volume.
Where the two differed most was in their
overall perspective. The 383 presented a
slightly more laid back perspective, putting
the listener further back in the recording
venue. The pros for this listener were an
increased sense of air, weight and body to all
instruments and voices. For example, in the
aforementioned Obrigado Brazil, Paquito
D’Rivera’s clarinet had a more woody and
substantial presence with the 383 in place,
giving the instrument more body and realism.
Sure, it was not as light or rhythmically
presented as with the 7008, but sitting
further back with the 383, it sounded more
real, hanging in space within the recording
venue, more part of the whole. Similarly,
although the 7008 had more upfront rhythmic
presence on Lou Reed’s duet with Rob
Wasserman, the 383 moved us back some, giving
us the perspective of more space, air and
solidity to the players and their instruments.
This did not mean a less exciting or involving
listening experience with the 383. On the
contrary, the 383 seemed to invite more
exploration into the musical event, creating
more realistic weight and space around the
musicians.

Bass was dynamic and taut with both
amplifiers, with the 7008 edging the 383
slightly on being effortless and propelling
the music forward, especially on rock and kick
drum driven music. Sting’s bass was still taut
and powerful with the 383, just slightly less
“see what I can do” forward attitude in
providing the musical foundation. I also found
the overall perspective of the 383 to provide
a somewhat deeper and wider soundstage than
the 7008, similar to what I experience sitting
in the last row of Boston Symphony Hall in the
cheap “rush” seats. Giving up some of this for
a front row perspective, and the more present
and immediate listening experience that the
7008 (and the Porsche driving experience)
provides, may just be the rush that some
audiophiles would love to experience.

Back in
the Pits

One of the last comments on these two
wonderful pieces is that they are a joy to
listen to at low volume. I find that lesser
priced integrated amps lose some of their
musicality at low listening levels (although I
have listened recently to the new Krell KAV
400xi and like what I have heard at low
volumes on this more affordable integrated). I
encourage a test drive at your local dealer of
both the MBL 7008 and the Mark Levinson 383
for a taste of the paradigm of integrated amp
performance. Ladies and gentlemen, start your
engines!